Moving Speech: a workshop with Mark Lorimer
The human body and how we 'speak' with it can be extremely direct and equivocal. After 20 years as dancers, Mark Lorimer and Cynthia Loemij (both instrumental collaborators with Rosas/Anne-Teresa De Keersmaeker) are beginning work on a duet that explores communication and intimacy with a focus on music. In this week-long workshop, Mark Lorimer will be opening up the process to include the group to develop their own improvisational and written material. What can dance specifically express about experience? What creates intimacy, successful communication, effective speaking and real listening? And how do we fail to connect?

Delicious Movement
Grounded in Eiko & Koma's movement vocabulary, the Delicious Movement Workshop is emphatically noncompetitive and appropriate for all levels of ability and training. We will move/dance to actively forget the clutter of our lives so as to fully ��œtaste��� body and mind. Delicious Movement is presented by Movement Research and Baryshnikov Arts Center, and is offered in conjunction with Eiko & Koma���s living installation Naked at BAC, March 29 - April 9. For more information on Naked, visit www.bacnyc.org.

Technique Workshop
A slow movement workshop, for all levels, this class is based on the essential principles of the body and mind which make of up the foundation of Klein Technique. Its goal is to bridge the gap between the slow and focused depth of work done in the stretch and placement classes to moving and dancing. It will utilize and explain the relationship and importance of the pelvis in relationship to efficiency and clarity of movement and then weave together the important connections in the body to better facilitate clarity, articulation, and coordination for powerful and rich moving. Each session begins with a particular warm-up, which changes each week, and ends with moving across the floor to bring all the parts of the class together as a whole. It is recommended that drop-in students have had some experience with Klein Technique. www.barbaramahler.net, www.kleintechnique.com

In this workshop we will explore what matters to us and how we might work with those concerns in creating dance and performance. In order to do this in such a short time, in advance of the workshop, I need all participants to write me an email (details provided after registration) that lists one concern which doesn���t necessarily have any direct and obvious relationship to dance and performance as well as one concern that relates more directly to dance and performance specifically. It is crucial that these concerns are genuinely of interest to each of the participants as they will form the foundation of the workshop. From this list, we will generate and execute scores to experiment with in class. Concerns are due by April 11. If there is any confusion about this, I will attempt to resolve this with the individual participants over the next days. All participants will receive a full list of all the participants��� concerns by mid-week prior to session 1. In session 1 we will discuss the list of concerns and attempt to jointly make and try some scores in a democratic group process to physically work with in the studio that abstract these concerns. Between session 1 and 2 participants will be asked to continue this process with this list of concerns on their own. In Session 2 we will physically work in the studio with the scores individual participants have generated over the week, both as solos duets and groups. In session 3 we will work trying to compositionally co-relate explorations which emerged of interest to us in the first 2 sessions. Ideally all participants will commit to attending all three sessions. If this is impossible, participants must have attended prior sessions in order to come, i.e. you can take sessions 1 and 2 and not attend session 3, but you can���t attend session 3 if you haven���t attended sessions 1 and 2. Similarly, you can���t attend session 2 if you haven���t come to session 1.

This workshop is open to everyone interested in sharing movement experiences. We will practice: Listening to our instincts as movers, disregarding all preconceived ideas of how one ��œshould��� move in space. The participants will explore their own creative movement potential by releasing personal memories and perceptions of their own environment by utilizing the power of the group to build a collective experience. This workshop is about finding ways to make more visceral choices rather than intellectualizing the design of the body in the space. Is about experiencing the joy for moving and dancing to become totally physical and present, yet connected to our internal states.

How to Talk to, Deal With, and Learn to Love/Hate Designers
The aim of the workshop is to share thoughts regarding scenography, and specifically lighting and how they relate to your work. We will start with your piece- I will start with one of mine. If you could prepare and present your piece-(10 minute max) where you started from and where you're going and how this path has or perhaps will be translated into scenography (I include lighting in scenography). Please use some of the following - video/music/notes/sketches/diagrams/photos etc to present your piece/choreographic material. Timelines are very important. You should discuss your piece as a ��œvisual event���. Let me know what you ��œimagine���. Reality will happen alas. Although sometimes dangerous territory we might delve into ��œconcept��� as a bearer of meaning and a potential key to interpretation and to emotional and visual thinking. What is essential to your piece and why? Two elements will be examined: How I go about designing light for dance in a practical manner and then how I think I do it in the unpractical manner. The first part is how I note dance and how I create/organize scores that structure light over the length of the piece. The second part remains somewhat of a mystery for me but I would like to examine that with you having to do with the quality of light.

Motivating Dynamics
What is true motivation for movement? When does dance feel real? What qualities contribute to the dynamic momentum of a dance phrase? Contrasts between extreme spatial extension and central impacts, risky and playful handling of body weight and creating or overcoming resistance will be explored. Each class will consist of a warm up based on Laban analysis, and then I will offer ideas for creating and executing movement in an open research situation.

The Red Square: a Place marked out for Divination
To strengthen our composing muscles, our intuition, our finding of patterns, stories ~ the way home. Using large Red twine to enclose a space, letting the power generate and invoke patterns, designs, stimulating our image-in-ation/visualization. Not dancing only inside but also composing: with self/others/allies (objects)/text and sound and, possibly, dark and light.

| resonance |
This workshop is free to all participants. Donations to cover the cost of the teachers' travel will be greatly appreciated. | resonance | is based on practices that enable heightened states of sensory perception. The workshop shares methods for reverberating mindfully with other dancers during duet and ensemble improvisation. We will focus on listening, sensing, and acting from sound, movement, and memory impulses. We will explore expansions and contractions of energy and sound in our bodies and in the space. We will trace the pathways that movement material takes between outside and inside: input - filtering - output - sending. Rather than reacting to other bodies, we will cultivate a stance that allows us to observe, consider, and respond with as much of ourselves as possible. The group will explore questions like: How do we transmit messages that expands in different forms through the space instead of dying out? How do we translate or morph messages into different media like writing, drawing, or assessing? How can we use vibration, reflection, sounding, panning, resounding, writing, and remembering to create a resonating body? Lanz' s teaching platform is based on somatic techniques and improvisation, mainly Topf technique. http://www.dynamicanatomy.org/ Bilwa incorporates listening techniques and sensory perception. He encourages participants, through improvisation, to draw from movement, sound, space and memory interchangeably. Mart��n Lanz Land��zuri is beneficiary from Fondo Nacional para la Cultura y las Artes (Fonca-M��xico) through Residencias Art��sticas de libre gesti��n FONCA-CONACYT program.